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review from Turkey


İstanbul Blues Kumpanyası, 1997 yılında 8. Efes Pilsen Blues Festivali’ne davet edildiğinde ilk albümleri “Kökler”i henüz çıkarmıştı. Ekip albümdekinden biraz farklıydı; Sarp Keskiner’in Tuzlu Nehir projesinde yer alan müzisyenler ile İBK kadrosundan seçilmiş altı kişilik bir kadro sahneye çıkmıştı. Hilton İstanbul Convention Center’da çaldıklarında masanın başında StarAs’ın İngiliz çalışanı, Sarp’ın isteği üzerine eline tutuşturulan dat’a -gündüz ve gece- iki seti de kaydetmişti. Yıllardır Sarp’ın çekmecesinde duran kayıtların şimdi bir kısmı dijital platformlarda.

23 dakika süren beş parçalık EP’deki (kısaçalar) kayıtlar, sadece mastering aşamasında minik dokunuşlarla yayımlanmış. Orijinallerine çok yakın hatta aynısı olduğundan zamanın ruhunu, atmosferini iyi yansıtıyor. Konserin ardından topluluk içinde dil ve müzikal tercihler konusunda tartışma başlamış, direksiyon farklı rotaya kırılmış, sonucunda üretken bir sürece girilmişti. Dile kolay çeyrek asır olmuş. Bu tarihi belge, yirmili yaşların keyfini süren tutkulu takıntılı müzik çetesini daha iyi anlamamıza vesile.

Sarp’ın kurtarılmayı bekleyen harici harddisc’inde daha çok İBK kaydı var. Derli toplu bir mecrada, düzen içinde yayımlanması dileğiyle…

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and another nice review for Boo Boo & ElectroBluesSociety

Boo Boo Davis and ElectroBluesSociety – Transatlantic Quarantine Sessions

The pandemic has kept Boo Boo Davis and ElectroBluesSociety from meeting up in person. But that didn’t keep the Dutch duo from working out with Davis. What had been an annual European tour for the trio became an exchange of sessions over the wire. The mix of Davis’ old school delta singing and the creative ferment of Jasper Mortier and Jan Mittendorp has been enhanced. The sound is more experimental and more primal than their earlier work. Necessity has created a set of songs that take the blues into uncharted waters. This isn’t a set of remixes or samples. It’s a full collaboration that brings out the best and most innovative sides of each musician.

While the production can’t quite erase the “assembly” feeling that this sort of recording can bring, that distance (and the strikingly different sounds of the studios) lends these songs that much more of an eternal and otherworldly quality. The blues means different things to different people, and I imagine a lot of people might wonder how some of this relates to the blues at all. The isolation between the notes that simply wails should be enough.

Many of these songs have been released over 2021 as singles. This set is a worthy document of the plague years. Let’s hope for a full concert season in 2021. Davis and the Dutchmen may never follow this exact path again, but it is surely a worthy one.

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review from Hungary

Senel Karatepe a törökországi Lüleburgaz városban született, és jelenleg is ott él. Középiskolai tanulmányai alatt kezdett el érdeklődni a zene és a gitározás iránt. A Dokuz Eylül University Zenetudományi Tanszékének hallgatója volt, a diploma megszerzését követően zongoratanítást vállalt, de adatbázis-adminisztrátorként és weboldal-fejlesztőként is dolgozott. Jelenleg csakis zenéléssel foglalkozik. Bemutatkozó albuma, a Hard Times 2006-ban és 2007-ben rögzített dalokat tartalmaz, olyan előadóktól, mint Robert Johnson, Muddy Waters, Charles Brown, Big Bill Broonzy, Ray Charles és Eric Clapton. A lemez a holland Jan Mittendorp és a török Sarp Keskiner által alapított Bone Union Records gondozásában digitálisan jelent meg.

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another review for Boo Boo Davis + ElectroBluesSociety

A musical society to stand up to the present and speculate about the future. Boo Boo Davis, bluesman from Mississippi bone in 1943 and two experienced dutch sound scientists, Jan Mittendorp and Jasper Mortier behind ElectroBluesSociety. What can you expect when they get to work together ? The distance between St Louis (USA) and the Netherlands is 4530 miles, insufficient for the three musicians to start working on their second album together. The internet is a zenith of creative freedom. The blues instinct out in another dimension of the electronic intuition supervised by the bluesman. A waterfall of originality and freshness, Davis whispering the harmonica and murmuring the songs hidden behind the guitars, percussions and sounds of the electric society. The purism will back down before this album but without proposals like the these the alley will continue without having a suggestive exit.

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short UK review for new ElectroBluesSociety single

Blues In The South published a short review from Norman Darwen on the new ElectroBluesSociety single:

Bluesman Roscoe Chenier recorded some fine material for Black & Tan, including this fine a cappella rendition of the old gospel standard, released in 2006.

On this new single download release, ElectroBluesSociety have added a modern, bass heavy musical accompaniment including slide guitar it is actually pretty sympathetic and effective. The track runs to five minutes long, and although purists may sneer, if it brings a new audience to the blues, it will have done its job.

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review ElectroBluesSociety on The Wizard

ElectroBluesSociety are a Dutch-based “Organic Dance music” duo mixing electronics with raw, vintage live Blues-based sounds; self-described as “two guys and a bunch of junk with a broad taste and an open mind. Together, they are mixing modern technologies with 30+ years of live stage experience.” ElectroBluesSociety (EBS) consists of drummer and bassist Jasper Mortier and guitarist and Black & Tan Records owner Jan Mittendorp. Mortier has worked with the likes of Paul Oscher, Preston Shannon, “Sax” Gordon Beadle, Philip Walker, and Boo Boo Davis, while Mittendorp has toured extensively across Europe & The US with artists such as Percy Strother, Smokey Wilson, Boo Boo Davis, Erskine Oglesby, and Roscoe Chenier. Jan Mittendorp personally, worked with American R&B singer and guitarist Roscoe Chenier for nearly 20 years and released two of his critically-acclaimed albums—Roscoe Style (1998) and Waiting for My Tomorrow (2006)—on Black & Tan Records. Chenier’s rendition of traditional Gospel hymn, “Will The Circle Be Unbroken” was originally released on Waiting for My Tomorrow in sparse, stripped-down acapella form. Now, nearly 12 years after its initial release, Black & Tan Records have properly re-released “Will The Circle Be Unbroken” with a newly-orchestrated backing track arranged by EBS to accompany Roscoe Chenier, who, unfortunately, passed away in 2013. Jan Mittendorp said, in an exclusive statement sent to The Witzard, “Jasper and I and both terrible singers (to put it mildly) but [on the other hand], we love Blues and Roots music, mainly because of the vocals.” Mittendorp enthusiastically continued: “so, instead of doing some bad singing ourselves, we prefer to use something good that is already existing. We have some more projects coming up, where we use new vocal recordings of guest singers that we invited for a recording sessions.” ElectroBluesSociety’s “Will The Circle Be Unbroken” personally, reminds me of Jamie xx’s 2011 full-album remix of Gil Scott-Heron’s 2010 return-to-form I’m New Here, fittingly re-titled We’re New Here. “Will The Circle Be Unbroken” has been released as a digital-only single on Black & Tan Records, now available on Apple Music, Deezer, Soundcloud, Spotify, and similar like-minded digital retailers.

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first review for new ElectroBluesSociety single

Dutch Blues act ElectroBluesSociety release a hauntingly spectral musical accompaniment to the late Roscoe Chenier’s acapella rendition of gospel standby “Will the Circle Be Unbroken”. Interestingly, ElectroBluesSociety, a Dutch blues act, comprised of Jasper Mortier (drums, bass) and Jan Mittendorp (guitar, production), who worked with Roscoe Chenier on several releases and several European tours decided to pay tribute to their late friend by adding a spectral and moody arrangement Chenier’s vocal that’s appropriately bluesy yet subtly modern, while retaining the timeless vibe of the original vocal take.

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review for Electro Blues Compilation

Geheel toevallig stootte ik op deze verzamelaar van bluesmuziek die een electrobehandeling kreeg. Electro blues tracks, vol. 4 is blijkbaar al het vierde deel en het smaakt alvast naar meer. De bluesnummers worden aangeleverd door artiesten als Boo Boo Davis, Big George Jackson, Harrison Kennedy en anderen, allen voor mij onbekend. Ook de remixers van dienst (ElectroBluesSociety, miXendorp,…) zijn voor mij nieuwe namen. Maar van elk van hen denk ik: “hm, die moet ik nog eens verder beluisteren”. Ze geven de soms rauwe bluestracks (zoals I’m so tired) een heel moderne feel en vibe en tillen de nummers zo de eenentwintigste eeuw in. Dit compilatie-album is werkelijk een ontdekking én een aanrader.

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review single ElectroBluesSociety on

De ElectroBluesSociety is een stel heren die elektronica mengen met het geluid van echte instrumenten. Deze heren zijn Jasper Mortier (bas, drums) en Jan Mittendorp (gitaar, elektronica). Beiden hebben ruime ervaring in de blues en hebben het podium gedeeld met mensen als Preston Shannon, Philip Walker, Paul Oscher, Boo Boo Davis en Byther Smith om er maar een paar te noemen. In mei doken zij de studio in met harmonicavirtuoos Kim Snelten en het resultaat hiervan is nu als single “Duck” verkrijgbaar. Het is een instrumentaal nummer dat duidelijk bouwt op elektronica. Niets voor bluespuristen, zou je zeggen. Maar in dit geval wordt het goed ingezet en is het als een van de gebruikte instrumenten hoorbaar. Het is een lekker swingend nummer, waarbij vooral de harmonica van Snelten indruk maakt.

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review David Philips – Winter from the UK

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David Philips – Winter (Black & Tan B&T 962)
UK born but long based in Spain, David Philips has been working over the last few years as a folk inflected artist for Holland’s Black & Tan Records, one man and a guitar, and so this release for the blues label – David’s sixth, not including a couple of remix tracks – might come as a surprise. It is still a solo effort, but the guitar is electric, blues harmonica crops up occasionally and there is a rhythm section behind David’s excellent vocals. All the songs are David’s of course, he plays all the instruments, and he even provided the cover art. The sound ranges from indie-rock to blues, with comparisons being drawn with Ryan Adams and Doyle Bramhall II; I also hear a little Tom Petty in there too, ‘Running’ opens with a riff a little like Jimi Hendrix’s cover of ‘All Along The Watchtower’ before turning in the direction of Neil Young maybe, and ‘That’s Alright’ recalls early 70s Pink Floyd with a long, space-y passage. Mind you, ‘The One’ is a strong slab of blues-rock. This release contains eight rootsy, hook-laden songs, and if this review has intrigued you, then do check out this release..
Norman Darwen